West Zone Cultural Centre , UDAIPUR, INDIA
is one of the seven Zonal Cultural Centres set up by the Govt. of India to provide facilities for the creative development of performing arts, visual arts, traditional folk & tribal art forms and literary pursuits in the western region of India in the states of Rajasthan, Gujarat, Maharashtra, Goa and union territries of Daman, Diu & Dadra Nagar Haveli. The main thrust of the Zonal Cultural Centres is to network and disseminate cultural activities in rural India and build up linkages among various folk art forms at village, district, state level, inter and intra-zonal level among the member states in association with the various art academies of state and Central Govt. There is a special emphasis on artists' creativity, peoples' participation and revival of vanishing arts & crafts.
Kala-Prayojan Quraterly is the most regular, prime publication of WZCC.
A painter-Administrator, Dr. Devendra Kumar धोदावत, IAS (Kerala Cadre) was the publisher of this journal and also the Director of the WZCC. uptill now. All enquiries regarding the membership and subscription etc. may be addressed to Director on http://www.wzccindia.com/
A Bi-Lingual Quarterly Journal of the WEST ZONE CULTURAL CENTER, Government of India, Gangaur-Ghat, UDAIPUR,India पश्चिम क्षेत्र सांस्कृतिक केंद्र की द्विभाषी पत्रिका focused on World-Art, Aesthetics,Culture and Literature
Wednesday, February 4, 2009
OUR CONTRIBUTORS
Under the editorship of Hemant Shesh
Major Writers and Artists published in "Kala-Prayojan" so far:
Agyeya , Dr। Ramvilas Sharma, Satyajit Ray, Kedar Nath Agrawal, Vidya Niwas Mishra, Nemi Chandra Jain, Ramswaroop Chaturvedi, Krishna Baldev Vaid, Nirmal Verma, Jagdish Gupt, Dr. Daya Krishna, M F Hussain, Prof. Govind Chandra Pandeya, S. H.Raza , Ashok Vajeyee, F.N. Souza, Mukund Lath, Vishu Khare, Kumar Gandharva, Vijay Verma, Dr. R.C. Agarwal, Jagat Pal Singh, Sitakant Mahapatra, Raghuvir Singh, Bacchoo Lal Awasti'Gyan', Devarshi Kalanath shastry, Prayag Shukla, Ashok Aatreya, Jyoti swaroop, Anil Sinha, Shamsher Bahadur Singh, Ramesh Chandra Shah,Udayan Vajpeyee, Nag Bodus, Radha Vallabh Tripathi, R. V. Vyas, Ranveer Singh Bisht, Madhu Bhatt tailong, Pandit Jasraj, Sarvesh Bhatt, Chandrakanta, Mohan Sharma, Ganesh Pyne, Anjan Sen, Rammurti Tripathi, Yashdev Shalya, Pandit Vishwa Mohan Bhatt, Pt. Laxman Bhatt Tailong, Yaroslav Sifurt, Mohan Shrotriya, Prakash Parimal, Kumar Vimal, Arpna Kaur, Meenaxi Bharti, Madan Mohan Mathur, D.C. Sharma, Pt. Lalmani Mishra, Suneera Kasliwal, Ratan Lal Mishra, Vedpraksh Amitabh, Veerendra Singh, Giridhar Rathi, Ram Kumar, Kishor Kabra, Hasmukh Baradi, Nawal Kishore, Charan Sharma, Daniel fillod, Saroj Pal Gogi, Rati Saxena, Chetan Karnani, Ke. Ka. Shastry, Rizwan Zaheer Usman, Nand Chaturvedi, Hardayal, Kamal Kishore Goyanka, Mo. Di. Paradkar, Jeewan Singh, Gangadhar Gadgil, Leeladhar Jagoodi, Rajee Seth, Jaya Goswami, Shiv Prasad Singh, Vijendra, Vaidyanath Saraswati, P.D. Sharma, Mithilesh Srivastav, Rajendra Prasad Sharma, Ranjana Gunjan, Arun Kamal, Prabhakar Shrotriya, Bharat Bhardwaj, Riszad Krinesky, Sudheer Saxena, Poonam Daiya, Siddheshwar Prasad, Peeyush Daiya, Sushma Bhatnagar, Purushottam Agrawal, Vijay Bahadur Singh, Devendra Raj Ankur, Mridula Garg, Henri Moor, K. K. Hebbar, Mudrarakshas, Vishu Chandra Sharma, Jaidev Taneja, Giriraj Kishore, Rahi Fahimuddin Dagar, Gopi, Rekha Rao, Nalini Bhagwat, Pushpita, Jyotsna Milan, Girish Rastogi, Bhagwan Singh, Suresh Awasthi, Ramesh Dave, Ayappa Pannikkar, Laxmikant Verma, Adur Gopalkrishnan, Umakant Upadhyaya, Ustad Fariduddin Dagar, Geetanjali Lal, Abhay Shankar Mishra,Ravi Srivastav, Zeabgniev Herbert, Mahendra Bhanawat, Vijay Kulshreshtha, Laxma Gaud,Akhilesh, Mahendra Raja Jain, Rajendra Upadhyaya, Vibha Rani, Chandrakant Bandivadekar, Narendra Mohan, Kamla Prasad, Sunita Jain, Leeladhar Mandloi, Mohan Aalok, Pt. Shiv Kumar Sharma, Indu Prakash Kanoongo, Lavleen, Raji Seth, Pt. Hari Charan Verma, Devendra Issar, Vinod Das, Jyotish Joshi, Wole Shoyinka, Vivaswa Shimborsky, Eric Stimus, Suresh Dwivedi, Vilas Gupte, Paul Vallery, Manbhadur Singh, Om Prash Pandeya, Wageesh Shukla, Pt. Rajan-Sajan Mishra, Droneveer Kohlee, Herjeet Ernest, Vidya Sagar Upadhyaya, Harshdev Madhav, K. Satchidanandan, Sadhna Agrawal, Rajendra Gangani, Sangeeta Gundecha, Divik Ramesh, Ernest Albert, Nasira Sharma, Hamidulla, Pt. Birjoo Maharaj, Yaroslav Sifurt, Dushyant Ojha, Rita Pratap, Utpal Banerjee, Gopi Chand Narang, Bharat Ratna Bhargava, Pt. Munna Shukla, Parmanand Srivastava, Gopal Rai, Tarun Bhattacharya, Yugeshwar Upadhyaya, Jagmohan Mathodia, Krishna Mohan Bhatt, Komal Kothari, Ashok Rahi, Baldev Vanshi, Aalok tondon, Kumar Ambuj, P. Mansaram, Bhawani Shankar Sharma, Lalit Mohan Sen, Shambhunath, Pt. Bhajan Sopori, Navneeta Devsen, Bhagwat Swaroop, Vinay Sharma, Induja Awasthi, P. N, Chyal, Kiran Murdiya, Ursula Bloom, Wall Jeelgood, Mebel Constenduros,Vishwambhar Vyas, Uma Dogra, Pt. Surinder Singh, Tejpal Singh, Prerna Arora, Gopal Das,Kamla Nath Sharma, Nand Bharatdwaj, Jeewnanand Das, Jai Goswamy, Jolly Bhandari, Renu Sharma, Lipika Dasgupta, Haku Shah, Mina Kumar, Rakesh Kumar Singh, Indushekhar Sharma, Vandna Kengrani, Ustad Ghulam Mustafa Khan, Abhinand Lath ,Adoor Gopal Krishnan, Agnipushpa, Ajamil , Ajit Kumar, Amarjeet Konke, Ambareesh, Amit Verma , Anant Verma, Amajeet 'Kasak' , Ashok Gaur,Ankit Patel, Parijat Dewarshi, Atanu Bhattacharya, Balbir Parwana, Bhagawati Lal Vyas Bhawani Shankar Sharma, Bhawen Barua, Bhupen Khakkar, Bhupinder Kaur Preet, Boris Pasternak, Chandra Bhushan Sharma, Chandra Prakash Dewal, Chandra Singh Birkali, Dev, Devkant Barua, Devneet, Dhirendra Kumar Jha, Dileep Sharma, Dinesh Das, Edwin Sugarev, Evan Motideav, Gopi, Gurdev Chauhan, Gurmeet Kallar, Majri Gurnam Gill, Gyanendrapati, Gyanwati Baid Mehta, Harbhajan Halvavin, Harekrishna Deka, Harekrishna Jha, Hari Bhatnagar, Hari Ram Aavarya, Hayashi Yukiko, Heeren Bhattacharya, Heerendra Nath Dutta, Hemant Shesh, Herbert Maria Marquise, Jagmohan Mathodia, Manmohan Jha, Jagtar, James Berry, Jaswant Deed, Jaswant Zafar, Jeevan Narah, Jeevnanand Das, Jyotsana Milan, K. Ravindra, K. Santoshi, Kanhaiya Lal Sethia, Kedar Kanan, Kumar Ambuj, Laeek Hussain, Latterio Kalapai, Lokesh Jain, Lugi Pirendilo, Mahaprakash, Mahaveer Dadheech, Mahendra Bhanawat, Mahendra Raja Jain, Meethesh ‘Nirmohi’, Minder, Mohanjeet, Molini Niezwa, Moolchandra Gautam, Mukesh Garg, Mukesh Sharma, Nachiketa, Nalini Kumbhat, Narayan Prasad Das Swami Narayanjee, Naresh Chandrakar, Dinesh Chandra Goswami, Neelkant, Neelmani Phookan, Nilim Kumar, Nirupma Dutt, Om Purohit ‘Kagad’, P.S. Sukhdev, Paramjeet, Paramjeet Sodhi, Paras Arora, Pradeep Verma, Pravesh, Premlata Sharma, Rada Panchevoska, Poonam Daiyaa, Raghu Rai, Raghvendra Tiwari, Rajendra Gangani, Ram Singh Chahal, Ramgopal Bajaj , Sanjay Kundan, Sanjeev Tamanna, Santosh Mayamohan, Sanwar Daiya, Satyadev Samvitendra, Satyen Joshi, Savinder Singh Noor, Shakti Chattopadhyaya, Shambhunath, Shiv Kumar, Sidhhu Damdami, Subhash Mehta, Sukhpal, Suneel Gangopadhya, Surjeet Patar, Taranand Viyogi, Tathagat Chatterji, Tej Singh Jodha, Tyanyang Gyatso,Pratyaksha, Veenu Kumar, Vibhuti Anand, Kabita Chakrawarty and many many more!
West Zone Cultural Centre,
Bagore ki Haveli, Udaipur-313001 (Rajasthan)
0294-2523858, 2410539, 2422567
Shilpgram: 2431304
Fax - 0294- 2523858
Regular Activities in the following states:
Goa, Gujarat, Rajasthan, Maharashtra, Union Territory of Daman, Diu and Dadra, Nagar Haveli
wzcccom_jp1@sancharnet.in
wzcccom@rediffmail.com
http://www.wzccindia.com
Bagore ki Haveli, Udaipur-313001 (Rajasthan)
0294-2523858, 2410539, 2422567
Shilpgram: 2431304
Fax - 0294- 2523858
Regular Activities in the following states:
Goa, Gujarat, Rajasthan, Maharashtra, Union Territory of Daman, Diu and Dadra, Nagar Haveli
wzcccom_jp1@sancharnet.in
wzcccom@rediffmail.com
http://www.wzccindia.com
HEIDI POUWELS writes in The Journal of the American Oriental society
".......While I do not wish to take sides, the issues Nirala's romantic poetry raises are very relevant to current debates. Most obviously, the Hindi-Hindu connection is very much in the thick of contemporary political debates, sparked by the rising tide of Hindutva, which spill over into the literary world. The endorsement of the slogan Hindi, Hindu, Hindustan by the influential contemporary Marxist critic Namvar Singh (in the October-December 1997 issue of the journal "Kala Prayojan," published from Udaypur) provoked a polemic reaction in "Hamsa", as a selling out of Marxism to Hindutva forces. (24) In such a context, Nirala's political ideas take on a new dimension. For example, Nirala's poem "Ram ki Sakti Puja" (1936) has been criticized for being reactionary and for reinforcing orthodox Hindu feudal forces, in an article in which the author deplores the lack of solidarity of Marxist literary critics with the Dalit cause. (25) "
Diptych in verse: gender hybridity, language consciousness, and national identity in Nirala's ......
"Jago Phir Ek Bar".(Hindi poetry)
Publication: The Journal of the American Oriental Society
Publication Date: 01-JUL-01A uthor: Pauwels, Heidi UNIVERSITY OF WASHINGTON
Diptych in verse: gender hybridity, language consciousness, and national identity in Nirala's ......
"Jago Phir Ek Bar".(Hindi poetry)
Publication: The Journal of the American Oriental Society
Publication Date: 01-JUL-01A uthor: Pauwels, Heidi UNIVERSITY OF WASHINGTON
Makarand Parajape writes in his blog :
“Svaraj and Postmodernism"
"Kala Prayojan "10 (Oct-Dec 1997): 102-114.
In this paper I argue that the critique of modernity need not be mounted from a postmodernist platform. Both in Europe and in India there was an older tradition of dissent. Indeed, both Marx and Freud emerge as two powerful examples of modernity’s internal critique. However, it is from an older, spiritual centre that I wish to draw my strength. In the West, this tradition included various figures like Blake, Goethe, Carlyle, Dickens, Emerson, Thoreau, Ruskin, Tolstoy, Dostoevsky, Weil, and so on. These figures are varied in their response, but have one common thread running through their work. They use religion, mysticism, spirituality, or literature to critique modernity. That is, they do not attack modernity on its own terms as Marx or Freud does, but invoke from within Europe, alternative traditions of epistemology and metaphysics. This “other mind of Europe,” can, as Gandhi realised, serve as a useful ally in our own quest for selfhood. In India, we find a critique of modernity from its very inception. Gandhi’s Hind Swaraj (1909) is perhaps the most powerful and far-reaching of these critiques. Now, can we argue that Hind Swaraji is postmodern? I would prefer to think of it as anti-modern, neo-traditional. Yet it does share and anticipate some of the criticisms mounted by postmodernism later.
In other words, I argue that we do not need postmodernism to critique modernity; we can use critical traditionalism better. Indeed, historically speaking, we in India have never fully accepted or internalised modernity. That is why we need not debunk it as urgently as the postmodernists have to.
In the second part of my paper, I offer a serious critique of postmodernist relativity or anomie from the point of view of Indian critical thinkers like Gandhi and Aurobindo. The latter spoke of an “antinomian tendency” that constantly recurs in the life of Europe. But instead of going above the normative and authoritarian regime of rationality, it instead plunges into anarchy and nihilism, denying all ethical obligations in its search of vital freedom. I argue, therefore, that the various expressions of the postmodern condition “in their very poignant cry for total emancipation, actually result in legitimating various kinds of irresponsibility.” That is why such free play is available only in the most secure and materially advanced nations of the world, where like spoilt children of late capitalism, these philosophers can make a mess which others must clean up. Postmodernity, in other words, rides piggy back on the most oppressive features of modernity, just as globalisation needs missiles and racist visa regimes for its survival. The free flow of capital is promoted, but the movement of labour is strictly curtailed. This is the paradox of the postmodern condition. It’s anit-foundationalism itself becomes a pseudo-foundation which only entraps us in the prison house of language. This is a chakravyuva into which we may well know how to enter, but not how to get out. --Makarand Paranjape, is a Professor of English at Jawaharlal Nehru University's Centre for English at the School of Language, Literature and Culture Studies. ...
"Kala Prayojan "10 (Oct-Dec 1997): 102-114.
In this paper I argue that the critique of modernity need not be mounted from a postmodernist platform. Both in Europe and in India there was an older tradition of dissent. Indeed, both Marx and Freud emerge as two powerful examples of modernity’s internal critique. However, it is from an older, spiritual centre that I wish to draw my strength. In the West, this tradition included various figures like Blake, Goethe, Carlyle, Dickens, Emerson, Thoreau, Ruskin, Tolstoy, Dostoevsky, Weil, and so on. These figures are varied in their response, but have one common thread running through their work. They use religion, mysticism, spirituality, or literature to critique modernity. That is, they do not attack modernity on its own terms as Marx or Freud does, but invoke from within Europe, alternative traditions of epistemology and metaphysics. This “other mind of Europe,” can, as Gandhi realised, serve as a useful ally in our own quest for selfhood. In India, we find a critique of modernity from its very inception. Gandhi’s Hind Swaraj (1909) is perhaps the most powerful and far-reaching of these critiques. Now, can we argue that Hind Swaraji is postmodern? I would prefer to think of it as anti-modern, neo-traditional. Yet it does share and anticipate some of the criticisms mounted by postmodernism later.
In other words, I argue that we do not need postmodernism to critique modernity; we can use critical traditionalism better. Indeed, historically speaking, we in India have never fully accepted or internalised modernity. That is why we need not debunk it as urgently as the postmodernists have to.
In the second part of my paper, I offer a serious critique of postmodernist relativity or anomie from the point of view of Indian critical thinkers like Gandhi and Aurobindo. The latter spoke of an “antinomian tendency” that constantly recurs in the life of Europe. But instead of going above the normative and authoritarian regime of rationality, it instead plunges into anarchy and nihilism, denying all ethical obligations in its search of vital freedom. I argue, therefore, that the various expressions of the postmodern condition “in their very poignant cry for total emancipation, actually result in legitimating various kinds of irresponsibility.” That is why such free play is available only in the most secure and materially advanced nations of the world, where like spoilt children of late capitalism, these philosophers can make a mess which others must clean up. Postmodernity, in other words, rides piggy back on the most oppressive features of modernity, just as globalisation needs missiles and racist visa regimes for its survival. The free flow of capital is promoted, but the movement of labour is strictly curtailed. This is the paradox of the postmodern condition. It’s anit-foundationalism itself becomes a pseudo-foundation which only entraps us in the prison house of language. This is a chakravyuva into which we may well know how to enter, but not how to get out. --Makarand Paranjape, is a Professor of English at Jawaharlal Nehru University's Centre for English at the School of Language, Literature and Culture Studies. ...
we have just published the GOLDEN JUBILEE special number of West Zone Cultural Center, Udaipur's quarterly bilingual-magazine "KALA-PRAYOJAN" consisting of worth preserving articles on Literture, Modern Art, Indian Classical Music, Impact of globalization on futre Art, Contemporary and traditional Theatre, Cyber Art, and film। Our contributors of this number are Dr. Kamal Kishore Goyanka, Dr. Kumar Vimal, Dr. Rammurty Tripathi, Kalanath Shastry, Vijay Verma, Girish Rastogi, Alex Colvin,, Jahangir Sabawala, Manmohan Saral, Nihar Ranjan Rajah, Dr. Kavita Chakravarty, Sandhya Sen, Praytaksha, (Late) Dinesh Chandra Sharma, H. Klinke, N. Raghvendra, K. Gopalan
Exclusive interviews with Shyam Benegal (By Droneveer Kohlee), Raji Seth( by Sudarshan Narang) Rene Leforts( by KP) (Late) Nirmal Verma (by Dr. Vandana Kengrani) Ahilesh( by Peeyush Daiya), S.L. Kandara (by Pandit Vijay Shankar Mishra) are this issue's special feature.
Senior modern short story writer Ashok Aareya has contributed a story : "Deewar Ke Peechhe Rahtee Hai Wah Ladkee".
The 50th issue contains impressive art-work ( Paintings) of P. N. Choyal, Akhilesh, Awdhesh Mishra, Joseph Gaal (Poland), Chhotoolal, Pranay Goswamy, Prof. Ratan Parimoo, Jahangir Sabawala and others.
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